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Thread: Fun with the Sony A7 Series Cameras( all of them)

  1. #7451
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    LAFD testing their Gear. Fun for the kids in us!




    And the video

    https://videos.smugmug.com/KHW/Pics-...il/master.m3u8


    A7r2 + Mitakon 50/0.95
    With best regards, K-H.
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by thompsonkirk View Post
    Thanks, all! You've been very helpful and I'm now saturated with favorable information!

    I was surprised, as were the original posters, that DOF no longer seems shallow after 5 meters.

    Will look right away for a used one....

    Kirk
    Kirk, a bit late seeing your post, I have been out all day...But I will just add that Amin (A member here) did an excellent comparison with download samples of the 50mm F/0.95 Mitakon and the 50mm F/0.95 Noctilux
    https://www.talkemount.com/threads/q...m-f-0-95.9773/

    _____________________________________

    Exactly two years ago 6th Jan 2014 once stood the historic “Monkey House” or more affectionately known by the locals as the “Monkey Hut” standing right at the end of Portreath Pier.
    Then the “Winter Storm Hercules” hit!.... https://www.youtube.com/watch?v=c2SZVBmjHq0 and it was sadly no more
    At the cost of a £250,000 it was finally rebuilt together with the pier
    These were taken earlier today in miserable weather but more favourable conditions (Selenium Toned).






    For those interested - Porthleven just a few miles south on the adjacent coast received the full force of “Hercules”
    Even the hardiest of Cornish surfers took that day off! https://www.youtube.com/watch?v=K44UXNN6l1E
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by Suntrip View Post
    Two pictures from a hiking trip in Jotunheimen in August. Taken with Sony A7r and the FE35 2.8. This is a really nice hiking combo.

    Attachment 115515


    Attachment 115516
    ..Gjende lake at Besseggen or? Did you climb Beseggen?
    thorkil

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    Re: Fun with the Sony A7 Series Cameras( all of them)


    " Lago Sunset "

    3 shot pano, Canon 24 TSE II, shifted




    Lago Sunset by Werner Utsch, on Flickr
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    Re: Fun with the Sony A7 Series Cameras( all of them)

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    Re: Fun with the Sony A7 Series Cameras( all of them)


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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by Thorkil View Post
    ..Gjende lake at Besseggen or? Did you climb Beseggen?
    thorkil
    The lake on the picture is Olefjorden. I hiked from Bygdin to Yksendalsbu that day. It is a nice hike, not as crowded as Bessegen, did not meet any people the hole day. The second picture is from the road to Glitterheim.
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Unburied treasure

    Kirk

    I don't seem to be able to stop working in this style, so I've found a 35 f1.2 Nokton and maybe a 0.95 Mitikon to do it with.


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    A7rII, 50 1.4 C/Y Planar
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    Senior Member Barry Haines's Avatar
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Trevethy Quoit with the 21mm Loxia
    Please click on Enlargement...Many thanks Barry




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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Wonderful – it seems alive!

    Kirk
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Mythic bridge

    Kirk

    A7rII, 50 1.4 C/Y Planar
    Attached Images Attached Images  
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    Re: Fun with the Sony A7 Series Cameras( all of them)


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    Re: Fun with the Sony A7 Series Cameras( all of them)

    And two more, in BW (or sepia):

    Kirk

    A7rII 50 C/Y Planar

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    ( This is what the trees do in the dark )
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    'secured' - a7rII / FE 90

    www.douglaswoodphotography.com
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Winter, Jilin Province, China
    a7mk2 + FE1635


    Winter, Heilongjiang Province, China
    a7mk2 + FE1635
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    A7RII, 16~35 Zeiss FE lens at 35mm. ISO 200, 1/500 sec, f10. Thanks for looking
    Dave in NJClick image for larger version. 

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    As I was neuroticly busy getting the two roof gutters between the buildings in one line, in which I didn't succeed, i did not notice the woman on the balcony.

    This is in Saint Valèry en Caux.

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Portreath and the Monkey Hut




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    Re: Fun with the Sony A7 Series Cameras( all of them)

    A7R2 with Canon 14mm lens using a Metabones IV adaptor. 45 seconds at f/16. Little Corona Del Mar Beach, CA. Click image for larger version. 

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by Barry Haines View Post
    Portreath and the Monkey Hut




    Luckily that Monkey Hut was built high and dry ...
    Bart ...
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Le Touquet. Find the dog....


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    Re: Fun with the Sony A7 Series Cameras( all of them)

    A tiny little Cornish Island that has an interesting history... https://en.wikipedia.org/wiki/Looe_Island

    Cornish: Enys Lann-Managh, meaning island of the monk's enclosure, also known as Looe Island and St George's Island, and historically St Michael's Island is a small 22.5 acre island a mile from the mainland town of Looe in Cornwall, England.

    People have been living on Looe Island since the Iron Age. Evidence of early habitation includes pieces of Roman amphorae as well as stone boat anchors and Roman coins. In the Dark Ages, the island was used a seat of early Christian settlement. The child Jesus was believed to have visited the Island with his uncle, Joseph of Arimathea, who traded with the Cornish tin traders. Therefore, Looe Island became a place of pilgrimage for early Christians and a small thatched roofed chapel was built there during this time.
    In the later Medieval period, the island came under the control of Glastonbury Abbey. Lammana Priory was a priory on the mainland directly aligned to a small chapel on the Island consisting of two Benedictine monks until 1289 when the property was sold to a local landowner. The priory was replaced by a chapel served by a secular priest until the Dissolution of the Monasteries in 1536 when it became property of the Crown. From the 13th to the 16th centuries the island was known as St Michael's Island. After 1584 it became known as St George's Island.
    Through the 17th and 18th centuries the island was a popular haunt for smugglers avoiding the British government's revenue cutters out of Plymouth and Falmouth. The Old Guildhall Museum in Looe hold information and research about the smuggling families of Looe Island and information is also available the more recent publications about the island.
    In the 20th century, Looe island was owned (and inhabited) by two sisters, Babs and Evelyn Atkins, who wrote two books: We Bought An Island and it’s sequel Tales From Our Cornish Island. They chronicle the purchase of the island and what it was like to live there.

    Taken yesterday (BLENCOMO)







    Some more...90mm Macro (Untreated) + 21mm Loxia (Handheld ¼ sec) Selenium toned




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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Trevethy Quoit from the sunny side
    A7R2 / 35mm FE F1.4 Distagon




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    Re: Fun with the Sony A7 Series Cameras( all of them)

    I'm still trying to take this 'digital pictorialism' idea seriously, hoping to get something with a narrow plane of focus that's much clearer and less chancy than Holga stuff, which always looks sort of sentimental to me.

    Acquired a 35 Norton 1.2 this week, to see how it would serve this purpose. It's responsible for the first one. Second is with 50 Planar 1.4 in C/Y mount.

    Have been thinking of trying 50 Mistaken for this work (Spellcheck keeps changing Mitakon to Mistaken!). Any other ideas, suggestions, criticisms welcome!

    Kirk

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    From our trip to Gatlinburg, TN:


    Stairway to Heaven by Carlos Echenique, on Flickr


    Creek by Carlos Echenique, on Flickr
    Carlos Echenique | Carlos Echenique Photography | Sony 𝛼7 II - 2 Sony FE Zooms - Lots of Canon FD Glass | Olympus Pen-F - M.Zuiko 17mm f/1.8, M.Zuiko 25mm f/1.8, M.Zuiko 45mm f/1.8, Rokinon 12mm f/2 NCS
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by thompsonkirk View Post
    I'm still trying to take this 'digital pictorialism' idea seriously, hoping to get something with a narrow plane of focus that's much clearer and less chancy than Holga stuff, which always looks sort of sentimental to me.

    Acquired a 35 Norton 1.2 this week, to see how it would serve this purpose. It's responsible for the first one. Second is with 50 Planar 1.4 in C/Y mount.

    Have been thinking of trying 50 Mistaken for this work (Spellcheck keeps changing Mitakon to Mistaken!). Any other ideas, suggestions, criticisms welcome!

    Kirk
    Hi Kirk, I assume it’s the OoF rendering that you are particularly interested in, so it’s going to be a fast lens in the 50mm to 60mm range that you are particularly looking for, rather than using longer and fast lenses.
    An alternative too the 50mm F0.95 Mistaken which IMHO also has one of the best soft/dreamy OoF renderings is the Minolta MC Rokkor 58mm F1.2, it’s a bit soft when used wide open (which is what I think you are looking for ) that’s also plenty sharp when stopped down (a 2 in 1 type lens)...Some here also prefer the 50mm F1.0 Noctilux to the newer Noctilux F0.95 version because of it’s rendering...But it can still be pretty expensive.
    I still occasionally use the bang for the buck 58mm F1.2 Rokkor WO because the Sony 55mm F1.8 can’t get as close in terms of soft OoF rendering, that’s when comparing the two WO side by side....The 58mm F1.2 Rokkor would get my vote
    I used to use the 58mm Rokkor F1.2 with my 35mm F1.2 Voigtlander but switched over to the Sony 35mm F1.4 Distagon...I personally prefer the rendering of the 35mm Sony lens WO to the 35mm Nokton but I still kept the 58mm F1.2 Rokkor for certain occasions...see some 58mm samples below
    BTW. I prefer your first image...great toning that suits the subject matter... Cheers Barry




    ____________________________

    The 21mm Loxia works brilliantly as a wide field close up lens, super sharp into the corners when stopped down...Please click on Enlargement...Many thanks Barry




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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Thank you, Barry, gorgeous bokeh with Rokkor! And Yes that's what I'm trying to do, but can't go beyond 50mm and don't plan to indulge in Nocti just for this little experiment; but I'll take the rest of your advice! Oh, for a 35 Noctilux?

    Here's another attempt. Trying to keep them flat like old prints, but Nokton is rather contrasty. I used to have Version 1, and it might have been better for this purpose – flatter, I think, with more flare.

    Also not sharpening at all, to retain vintage look; but perhaps selective sharpening of focal point would be a good idea....

    Kirk

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    OK, enough of a more-or-less good thing. It's been a hard day's work.

    Kirk

    A7rII, 50mm C/Y Planar
    Attached Images Attached Images  
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  29. #7479
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by thompsonkirk View Post
    Thank you, Barry, gorgeous bokeh with Rokkor! And Yes that's what I'm trying to do, but can't go beyond 50mm and don't plan to indulge in Nocti just for this little experiment; but I'll take the rest of your advice! Oh, for a 35 Noctilux?

    Here's another attempt. Trying to keep them flat like old prints, but Nokton is rather contrasty. I used to have Version 1, and it might have been better for this purpose – flatter, I think, with more flare.

    Also not sharpening at all, to retain vintage look; but perhaps selective sharpening of focal point would be a good idea....

    Kirk
    Many thanks Kirk, I would forget waiting for the possible arrival of a 35mm Noctilux!
    The last time I looked the Signal Corps Engineering Laboratories 33mm f/0.6 Lens was the "Worlds fastest lens" barring mirror lens types.
    That just happens to be about the right FL that you are looking for ...It should also give you the shallow DoF rendering that you are after!
    The last time one went to auction it was estimated between $20 and $200,000....If you ever got lucky at $20 (but I very much doubt it ) it would be annoying to pay several 100 bucks out for a custom made adapter!
    https://www.liveauctioneers.com/item...-33mm-f06-lens
    On a more serious/curious note, I'm curious to know what paper you would print these on eventually...I'm guessing a warm cotton rag type as opposed to some bright white glossy coated type.
    About a decade ago I tried to emulate as far as I could that is, some of the old photographic printing processes and experimented with different types of digital matt art papers (mainly cotton rag etc...) I found that the image sat to close to the surface and was not to my liking at all!..although the D-max was good the images lacked any depth and any feeling IMHO ...I then moved away from convention experimenting with a few non digital art papers textured and smooth...The papers D-Max obviously was somewhat reduced and some papers suffered terribly from the ink spreading (bleeding sideways and too deep down into the fibrous pores of the paper) and some just gave you muddy looking prints but some papers responded really quite well as long as you got the ink nozzle head as close to the paper as possible...I then went back to Digital Art papers experimenting with pre-soaking the paper in a very dilute solution of a surfactant "Tween 20" https://www.bostick-sullivan.com/articles/tween20.html this meant I had to print slightly darker to allow for more of the ink to be absorbed into the papers pores to keep a decent D-max of the paper...Bottom line was I got distracted and went back to making digital negatives and hand coating papers in combination with different light sensitive solutions...Anyway I'm following with interest what you are doing...On the screen some of those images have a lovely feel to them, much to my liking...Cheers Barry

    _____________________________

    Edit: Images inserted – “BIOMES” 21mm Loxia Split toned.





    “BANK RAID” 21mm Loxia, Fowey.


    Last edited by Barry Haines; 10th January 2016 at 09:45.
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by thompsonkirk View Post
    I'm still trying to take this 'digital pictorialism' idea seriously, hoping to get something with a narrow plane of focus that's much clearer and less chancy than Holga stuff, which always looks sort of sentimental to me.

    Acquired a 35 Norton 1.2 this week, to see how it would serve this purpose. It's responsible for the first one. Second is with 50 Planar 1.4 in C/Y mount.

    Have been thinking of trying 50 Mistaken for this work (Spellcheck keeps changing Mitakon to Mistaken!). Any other ideas, suggestions, criticisms welcome!

    Kirk
    Hi Kirk, are you using the Brenizer method to get "Large Format" DOF with a smaller sensor by stitching many images taken at large aperture together?

    If yes then maybe another idea is to use a longer focal length (for instance a 135/1.8 or 135/2) and shoot/stitch many more images to get the same scene as now, but with a lower dof. Here's an example of someone who used a CZ 135/1.8 for it.

    Google "Brenizer" and you'll find a lot more references and instructions.

    Btw, I like your compositions and "soft" ancient look. It's something a bit different from what we see here and that's great
    My Pics
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    'bottle' - a7rII / Zeiss 135 APO

    www.douglaswoodphotography.com
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by dwood View Post
    'bottle' - a7rII / Zeiss 135 APO

    Terrific!!!
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    Red face Re: Fun with the Sony A7 Series Cameras( all of them)

    QUOTE: "On a more serious/curious note, I'm curious to know what paper you would print these on eventually...I'm guessing a warm cotton rag type as opposed to some bright white glossy coated type.
    About a decade ago I tried to emulate as far as I could that is, some of the old photographic printing processes and experimented with different types of digital matt art papers (mainly cotton rag etc...) I found that the image sat to close to the surface and was not to my liking at all!..although the D-max was good the images lacked any depth and any feeling IMHO ...I then moved away from convention experimenting with a few non digital art papers textured and smooth...The papers D-Max obviously was somewhat reduced and some papers suffered terribly from the ink spreading (bleeding sideways and too deep down into the fibrous pores of the paper) and some just gave you muddy looking prints but some papers responded really quite well as long as you got the ink nozzle head as close to the paper as possible...I then went back to Digital Art papers experimenting with pre-soaking the paper in a very dilute solution of a surfactant "Tween 20" https://www.bostick-sullivan.com/articles/tween20.html this meant I had to print slightly darker to allow for more of the ink to be absorbed into the papers pores to keep a decent D-max of the paper...Bottom line was I got distracted and went back to making digital negatives and hand coating papers in combination with different light sensitive solutions...Anyway I'm following with interest what you are doing...On the screen some of those images have a lovely feel to them, much to my liking...Cheers Barry" :QUOTE

    _____________

    I hope, Barry, we aren't conducting a purely private conversation, which wouldn't belong on a 'Fun with..." thread. But on the other hand, Sony images, especially with new sensor, are so detailed that just posting on the web can't do them justice; they need printing for all their richness to be revealed, and that should be of interest to others who are having their 'fun' here.

    For color, I print as before on Harman Gloss Baryta paper, though most of my colleagues seem to have shifted to Canson. I still have lots of the Harman on hand. My wide-format Canon printer sits idle because I see improved resolution with the new Epson P800. With these files, it does make a difference.

    But your question was about BW printing of hi-res (Sony) files. I'm in the midst of printing a book of screwpost-bound archival prints – a form that allows removal of individual images for framing. One goal was to come as close as possible to 'f64' technique via digital processes. But the paper has to be flexible – therefore matte – to go in a book. A friend who's a color management consultant helped with tests of papers and printing techniques (short of Piezography), and we found that after all the DMax measurements, the greater problem was metamerism in BW printing with Epson inks. We came up with an odd solution that suits this book, but I won't go into it here. I ended up using Moab Entrada paper, which can be special-ordered in a bookbinding format. This is definitely not a high DMax paper, but the eye quickly adjusts, when looking at a book, to 'calling' the darkest tones black, even when they're not. Differences in DMax show up mostly on the wall in group exhibitions, where you can see the difference between one printing style and another. Otherwise the eye accepts the darkest tone as faux black.

    The point about Sony (and Leica Monochrom) files is that they have almost contact-print detail in not-too-large prints. Regarding tonal range, I sometimes used Tony Kuiper's (or Kuyper's?) Zone System masks, which allow fairly subtle modifications of the tonal range. His Zones don't correspond exactly to A. Adams's, but it's easy to compensate. The technique is much more flexible than darkroom printing!

    For this little 'digital Pictorialism' experiment, I've begun printing on Epson's Velvet Fine Art textured paper (RGB files with a boost to R and Y for sepia tone). This paper was a favorite with landscape photographers in early digital printing days. Again, it's not a deep DMax paper; but when I look at vintage prints prior to the 1930s, they don't rely on deep blacks. (When Weston discovered chlorobromide papers, he said these were what he'd always hoped for; but Pictorialism came before this discovery.)

    Sorry if this has wandered off-topic or is out-of-place,

    Kirk

    PS to Pegelli: I will investigate Brenizer technique!

    PPS: All of this is relatively new to me – until a few years ago, I worked at street photography in color. Any BW skill or judgment that I retain comes from large-format work long long ago. Reverting to ancient techniques in old age?
    Last edited by thompsonkirk; 10th January 2016 at 23:20.
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  34. #7484
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by thompsonkirk View Post
    QUOTE: "On a more serious/curious note, I'm curious to know what paper you would print these on eventually...I'm guessing a warm cotton rag type as opposed to some bright white glossy coated type.
    About a decade ago I tried to emulate as far as I could that is, some of the old photographic printing processes and experimented with different types of digital matt art papers (mainly cotton rag etc...) I found that the image sat to close to the surface and was not to my liking at all!..although the D-max was good the images lacked any depth and any feeling IMHO ...I then moved away from convention experimenting with a few non digital art papers textured and smooth...The papers D-Max obviously was somewhat reduced and some papers suffered terribly from the ink spreading (bleeding sideways and too deep down into the fibrous pores of the paper) and some just gave you muddy looking prints but some papers responded really quite well as long as you got the ink nozzle head as close to the paper as possible...I then went back to Digital Art papers experimenting with pre-soaking the paper in a very dilute solution of a surfactant "Tween 20" https://www.bostick-sullivan.com/articles/tween20.html this meant I had to print slightly darker to allow for more of the ink to be absorbed into the papers pores to keep a decent D-max of the paper...Bottom line was I got distracted and went back to making digital negatives and hand coating papers in combination with different light sensitive solutions...Anyway I'm following with interest what you are doing...On the screen some of those images have a lovely feel to them, much to my liking...Cheers Barry" :QUOTE

    _____________

    I hope, Barry, we aren't conducting a purely private conversation, which wouldn't belong on a 'Fun with..." thread. But on the other hand, Sony images, especially with new sensor, are so detailed that just posting on the web can't do them justice; they need printing for all their richness to be revealed, and that should be of interest to others who are having their 'fun' here.

    For color, I print as before on Harman Gloss Baryta paper, though most of my colleagues seem to have shifted to Canson. I still have lots of the Harman on hand. My wide-format Canon printer sits idle because I see improved resolution with the new Epson P800. With these files, it does make a difference.

    But your question was about BW printing of hi-res (Sony) files. I'm in the midst of printing a book of screwpost-bound archival prints – a form that allows removal of individual images for framing. One goal was to come as close as possible to 'f64' technique via digital processes. A friend who's a color management consultant helped with tests of papers and printing techniques (short of Piezography), and we found that after all the DMax measurements, the greater problem was metamerism in BW printing with Epson inks. We came up with an odd solution that suits this book, but I won't go into it here. I ended up using Moab Entrada paper, which can be special-ordered in a bookbinding format. This is definitely not a high DMax paper, but the eye quickly adjusts, when looking at a book, to 'calling' the darkest tones black, even when they're not. Differences in DMax show up mostly on the wall in group exhibitions, where you can see the difference between one printing style and another. Otherwise the eye accepts the darkest tone as faux black.

    The point about Sony (and Leica Monochrom) files is that a they have almost contact-print detail in not-too-large prints. Regarding tonal range, I sometimes used Tony Kuiper's (or Kuyper's?) Zone System masks, which allow fairly subtle modifications of the tonal range. His Zones don't correspond exactly to A. Adams's, but it's easy to compensate. The technique is much more flexible than darkroom printing!

    For this little 'digital Pictorialism' experiment, I've begun printing on Epson's Velvet Fine Art textured paper (RGB files with a boost to R and Y for sepia tone). This paper was a favorite with landscape photographers in early digital printing days. Again, it's not an especially high in DMax paper; but when I look at vintage prints prior to the 1930s, they don't rely on deep blacks. (When Weston discovered chlorobromide papers, he said these were what he'd always hoped for; but Pictorialism came before this discovery.)

    Sorry if this has wandered off-topic or is out-of-place,

    Kirk

    PS to Pegelli: I will investigate Brenizer technique!

    PPS: All of this is new to me – until about two years ago, I just did color street photography. Reverting to ancient techniques in old age.
    ________________________

    I will leave it here and briefly finish off as we are both straying OT (my fault )....But it's uncanny the papers that you have selected are also some of my favourites too (Harman Gloss Baryta paper + Epson's Velvet Fine Art) I always keep in various sizes...I use the original though from St Cuthberts Mill though as opposed to Epson Velvet (Digital and Non Digital velvet and satin...not the heavier textured version though) St Cuthberts Mill // Somerset Printmaking Paper + St Cuthberts Mill // Somerset Enhanced Fine Art Inkjet Paper or Arches Platine for making 14x11 and 10x8 contact prints...Pt/Pd or I had until recently some old Kodak AZO Chloride paper from Michael A Smith (E Westons favourite) for contact silver printing...Agree your eyes get accustomed to the lower faux Dmax and enjoy the long tonal curve of these kind of images...those images invite exploring rather than a cursory glance....Anyway thanks for sharing Kirk...Cheers Barry
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Here are a few sketches from yesterday (the first and second being split-toned).


    Frost at Dawn.





    Respite.





    Flow.

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    What the heck, here's one more from yesterday with a bit of seasoning!

    Safe harbours.

    Last edited by frozenbb; 11th January 2016 at 14:15.
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Another anthropomorphic tree, dancing inside a hula hoop?

    Kirk

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    A7rII, 35 Nokton f1.2
    Last edited by thompsonkirk; 10th January 2016 at 21:56.
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Some fantastic landscape pics here. Here's one with my A7R + ZM50 1.5. I can't seem to get this same look with the A7RII though.
    Attached Thumbnails Attached Thumbnails Click image for larger version. 

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    A7RII, 16~35mm Zeiss FE lens at 16mm, ISO 400, 1/50 sec at f8 hand held.
    Dave in NJClick image for larger version. 

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by gurtch View Post
    A7RII, 16~35mm Zeiss FE lens at 16mm, ISO 400, 1/50 sec at f8 hand held.
    Dave in NJClick image for larger version. 

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    Here is another one taken at the same time looking in the other direction (north, roughly). This one at 1/40th sec, f14 at 22mm, also hand held (love that image stabilization).
    Thanks for looking
    Dave in NJ
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    All taken this afternoon.

    “BLACK ROCK” at Millendreath.
    21mm Loxia. Dilute Cyanotype toned.





    “ROCKS AT SEATON”
    21mm Loxia. (BLENCOMO)





    “YELLOW”
    21mm Loxia


    Last edited by Barry Haines; 11th January 2016 at 15:10.
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    ^^^ All three are quite good, but I particularly like the atmosphere in the second. I love those moments of weak/diffuse sunlight.

    In keeping with the theme, here's one from yesterday as I ambled in the tide pools with my toddler.

    'Transitions'

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    '3 granite boulders' - a7rII / FE 35/1.4

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    REPAIR QUESTION PLEASE....Sorry but this request is a little off subject but don't know where else to ask. While having fun with my Sony A7R2 with Batis 85 lens, my dog ran right in front of me and tripped me up big time. My Sony got damaged on the concrete and needs Sony repair service (focus issues through EVF viewfinder). I also want the lens checked out to factory specs just for safety. I can't find where the best place us to send my Sony. If anyone has any suggestions about where I should send camera and lens for factory service here in the US I would appreciated it very very much. Many thanks, Eleanor

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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by eleanorbrown View Post
    REPAIR QUESTION PLEASE....Sorry but this request is a little off subject but don't know where else to ask. While having fun with my Sony A7R2 with Batis 85 lens, my dog ran right in front of me and tripped me up big time. My Sony got damaged on the concrete and needs Sony repair service (focus issues through EVF viewfinder). I also want the lens checked out to factory specs just for safety. I can't find where the best place us to send my Sony. If anyone has any suggestions about where I should send camera and lens for factory service here in the US I would appreciated it very very much. Many thanks, Eleanor
    Hi Eleanor, very sorry to hear that about your camera and lens, that is ruddy annoying when this sort of thing happens!
    I live in the UK so tried a little research for you in the USA...It may be of help or at least a starting place for repairing your camera and lens...Laredo, looks to be your best hope for your camera.
    https://pro.sony.com/bbsc/ssr/servic...ocations.shtml
    Zeiss lenses http://www.zeiss.com/camera-lenses/en_us/service.html
    Batis http://www.zeiss.com/camera-lenses/e...e.html#e-mount
    Hope that helps...Hope to see you back with your excellent images on the A7 series thread soon.
    Kind regards Barry
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by eleanorbrown View Post
    ...focus issues through EVF viewfinder...
    I don't know where you can send in, but just to be save: did you check the diopter wheel (on the right of the EVF-cap)? maybe you accidently moved it.
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by Barry Haines View Post
    All taken this afternoon.

    “BLACK ROCK” at Millendreath.
    21mm Loxia. Dilute Cyanotype toned.


    “ROCKS AT SEATON”
    21mm Loxia. (BLENCOMO)


    “YELLOW”
    21mm Loxia
    Barry, an outstanding post, even better the next day and very much worth lingering on...
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Quote Originally Posted by jim251 View Post
    Barry, an outstanding post, even better the next day and very much worth lingering on...
    Fully agree, I'm especially intrigued by the beautiful dilute cyanotype toning. Fits the image very well.
    Can you do this with Lightroom split toning, or is there some more magic involved?
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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Some more from Saint Valèry en Caux



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    Re: Fun with the Sony A7 Series Cameras( all of them)

    Barry, many many thanks for taking the time you did and for your suggestion....so much appreciated. My camera, lens first, crashed into the street.... Eleanor

    Quote Originally Posted by Barry Haines View Post
    Hi Eleanor, very sorry to hear that about your camera and lens, that is ruddy annoying when this sort of thing happens!
    I live in the UK so tried a little research for you in the USA...It may be of help or at least a starting place for repairing your camera and lens...Laredo, looks to be your best hope for your camera.
    https://pro.sony.com/bbsc/ssr/servic...ocations.shtml
    Zeiss lenses http://www.zeiss.com/camera-lenses/en_us/service.html
    Batis http://www.zeiss.com/camera-lenses/e...e.html#e-mount
    Hope that helps...Hope to see you back with your excellent images on the A7 series thread soon.
    Kind regards Barry
    - - - Updated - - -

    [
    Yes I did...many times and something has been damaged big time. Thanks, Eleanor


    QUOTE=seb;677236]I don't know where you can send in, but just to be save: did you check the diopter wheel (on the right of the EVF-cap)? maybe you accidently moved it.[/QUOTE]
    Eleanor Brown
    http://www.eleanorbrown.com
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